Qi Gong once said: "The atmosphere is tight, and it is not easy to turn around." One township, one place, one generation, its book grid must have its same place. Therefore, the handwriting of the ancients, for the Tang for the Song for the Ming and the Qing, can be recognized. "No matter how you copy the ancient texts, it is impossible to really write the original appearance, and what is enlightened in it must have its own style and characteristics, otherwise it will be unchanged, let alone a breakthrough."
In modern times, there is a calligraphy teacher who has devoted himself to the study of calligraphy and the morphology of Chinese characters for many years. He has long been engaged in the teaching of cursive writing, Chinese character learning, calligraphy teaching methods and other subjects, and has taught students all over the world. He believes that "education is the foundation of the country and the cornerstone of promoting traditional culture", and what he loves is not only education, but inheritance and development. He is Li Hongzhi, a professor in the Department of Calligraphy at the School of Arts and Media at Beijing Normal University.
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Biography
Li Hongzhi is a professor in the Department of Calligraphy at the School of Arts and Media, Beijing Normal University, and a doctoral supervisor. Doctor of Literature, Postdoctoral Fellow in Arts. He is a member of the Chinese Calligraphers Association and the Chinese Character Society. He is one of the backbone members of the Ministry of Education's Humanities and Social Sciences Research Project "Mr. Qi Gong Calligraphy Research". Presided over the 2012 National Social Science Foundation project "Cursive Font Research". In 2020, he won the "Dacheng Sinology Award" from Beijing Normal University.
Major achievements
He has published more than 50 academic papers in journals such as Chinese Calligraphy, Calligraphy Series, Chinese Calligraphers and Painters, and The World of Calligraphy and Painting. Magazines such as "Chinese Calligraphers and Painters" and "World of Calligraphy and Painting" have special introductions. He has published "Collection of Calligraphy Teachers of Beijing Normal University, Li Hongzhi Volume" (China Federation of Literature and Literature Publishing House, 2010 edition), "Research on Cursive Calligraphy in the Han Dynasty" (Beijing Normal University Press, 2014 edition), "Ink Marks (Jia Wu)- Li Hongzhi Calligraphy Collection" (China Literary Association Publishing House, 2014 edition). He has participated in many international exchange activities in calligraphy art in Japan, South Korea, the United States, Malaysia and other countries. He has held seven solo calligraphy exhibitions in Beijing, Shandong, Boston and other places, and his works have participated in more than 100 major exhibitions at home and abroad.
Li Hongzhi's calligraphy is exquisite, cursive is particularly good, and his pen and ink skills can never be achieved in a day. The characters have the degree of law, the pen has a source, and the tradition is fully inherited, impartial, not hurried. Although it is self-explanatory, it does not exceed the ancient law, although it follows the rules, it does not fall into the trap. Although it exudes the novelty of pen and ink, it also reveals the ubiquity of tradition. Such skillful pen and ink skills and profound skills are completely the accumulation of personal comprehensive qualities, showing a strong personal artistic style.
Luo Yang's "Yu Yu Wen Ya" commented on him: "Only with profound cultural cultivation can we nourish such a vivid and vivid work; only the fusion of literary style and ingenuity can conjure up such mysteries beyond pen and ink." ”
Today, we invite teacher Li Hongzhi to create two works around the characters of "peng" and "piece" respectively - Xingkai "Gao Peng Full seat" and Xingshu "Hanshan Tablets".
1
High-rollers are full
"Peng", originally a hieroglyph, its earliest ancient glyph, that is, the image of the oracle bone script that we can see today, is like two strings of jade (or shell) connected together, its original meaning is the ancient monetary unit.
Because a friend is two strings, it is extended from this glyph to the meaning of "friend". The idiom we write today is "high friends are full of seats", and the "friends" in them are the meaning of "friends". "Gao Peng full of seats" comes from Tang Wangbo's "Preface to the Tengwang Pavilion": "Thousands of miles are greeted, and high friends are full of seats." It means that noble friends are full of seats, describing a lot of guests.
When writing this idiom, the "mouth" below the end of the "high" line is replaced by a little. The word "Friend" uses its variant, and the shape can vaguely see the original meaning of the word "Friend".
The word "seat" is written with a hint of cursive writing, in contrast to the first three words.
At the time of the question, the teacher dropped a line on the left gap, and because the fall only contained the teacher's name, it was necessary to stamp the name stamp that included his own surname when stamping.
These four words belong to the form of Fang Bian as a whole, so there is an intrinsic connection relationship in form.
Well, this line book "High Friends Full of Seats" was created, I hope you like it!
2
Cold Mountain Flakes
"Piece" refers to the word of the matter, the oracle bone character image split wood piece, the original meaning is to split the tree and the like. Later, the meaning of "flat and thin things" was derived. The "piece" of the idiom "Hanshan Flake" that we write today uses the derived meaning.
The idiom "Hanshan Tablet Stone" comes from Zhang Dai's "Dai Zhi" in the late Ming and early Qing dynasties: "Yu enters Mount Taishan, sees the moya le character, and no word can be seen, so Yu uses the wordless stele as a stone of Hanshan Mountain." "A good article that is used as a metaphor for a rare one.
When writing, the word "cold" is written relatively long, and the lower part should be written relatively tightly and thickly, leaving a white area between the cover of the treasure word.
The character "mountain" is written relatively flat, which contrasts with the cold word. The word "piece" should have an echo with the word "mountain" in terms of thickness, and in addition to emphasizing the thickness of the pen, we must also pay attention to the arrangement and contrast of black and white.
The word "stone" and the word "mountain" cannot be written the same, it is a flat glyph, but it needs to be written a little more steadily.
Because the glyphs in the main text are relatively stable, when the paragraph is dropped, the teacher uses cursive glyphs, which adds a lively atmosphere to the whole article. Finally stamp it.
The teacher's entire chapter is to arrange the four words of "Cold Mountain Tablet Stone" in the upper part of the right side, leaving a gap below, forming a contrast between real and virtual, and the falling paragraph consciously moves closer to the right side and echoes each other.
Well, this book "Cold Mountain Flake Stone" work is completed, I hope you like it!
Appreciation of works
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